Original black front panel version of C2 compressor. (Two sets of controls and two audio channels, but no sidechain inputs, or crush facility). Popular in UK and US west coast studios. C1 Specifications: Power: 100v-240v AC selectable, 30 watts. Noise floor: Below -92 dBm (flat 20Hz-20Khz). Distortion: Below 0.025% (1K/+4 THD 20Hz-20Khz) Frq. Response: Within 1/2dB from 20Hz to 20Khz. Depth in rack: 240mm. Main input: Balanced, impedance 10K per leg. Output: Unbalanced (p2 hot default). Above +21dBm. Threshold: Adjustable -15 to +15dBm. Make-up gain: Adjustable 0 to +15dBm.Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.
The Smart Research C1LA is a two channel compressor/limiter, released to commemorate the 25th anniversary of the original C1 Stereo/Dual Mono unit, and the 50th anniversary of North American distributor, Sunset Sound. It is a versatile unit, housed in a two-module wide 500-series format, with three main modes of operation offering a range of possibilities. It can be used for all stereo or single channel signal applications: as a main mix bus compressor; for sub-mixes; or for tracking either mono or stereo sources.For 25 years Smart Research compressors have been used across many mixes: with artists as diverse as the Rolling Stones to the Three Tenors. The C1LA shares this history by including the same electronics and settings as the original C1, but with several new features.A Tri-Mode C1Each channel can either be used independently, or in Stereo mode both are summed into the side-chain to eliminate any image shift. The C1LA also has the ability to DC-Link the side-chain signals in Stereo mode, allowing for more movement, while still preserving the stereo image. And for those who prefer to compress both sides of a mix without linking: when operating independently both channelʼs controls are ganged.Mix GlueThe essence of the sound is determined by its dynamic performance: the way it reacts around transients creating its signature. In many situations, best results can be from medium-slow attack; and medium-fast release settings: passing transients present in a signal, while the compression law and timings then played out as the side-chain reacts and recovers both controls the overall levels and adds ʻpunchʼ as the transients are shaped. The ʻSOFTʼ mode in the C1LA also adds a new compression curve, acting not just at the threshold knee point, but across a broad input range of about 15dB.Features:
3 operating modes: Independent/ganged; Stereo linked/Sum; and Stereo Linked/DC
Metering options: Input, Output, (VU) and Gain Reduction (PPM) for L & R Channels
3 side-chain filters : 65, 130, or 205Hz
Automatic distortion null circuitry
Normal and half-threshold ranges
ʻSoftʼ compression curve reshapes a 15dB range
Total of 12 Attack and 12 Release settings
Total of 4 ʻAutoʼ settings
Dual, balanced bantam jacks for external side-chain inputs
All settings and circuitry from original C1 Dual/Stereo Compressor
The C2 compressor houses two independant mono compressors, or in STEREO mode, the left-hand controls operate both audio channels, with the right-hand controls not used, giving true Stereo operation. The C2M version has one set of controls and two audio channels for Stereo use, whilst the C2R is a dual channel remote expander for building up to 8 channel systems controlled from one C2M or C2. The characteristic sound of this unit arises mostly from the fast response at the onset of compression, which when delayed to occur around the mid range attack settings (after 0.3 to 3 milliseconds) results in a window through which transients can still pass. When used accross a mix, or with any dynamic programme, this has the effect of adding 'punch', as the sidechain 'breathes' around these transients, while still controlling overall levels. CRUSH mode has been developed as an extension of this 'musicality', adding to and accentuating the factors involved in producing the character of the unit. CRUSH may sound surprising to those interested in more gentle applications, being capable of exaggerated compression effects, but in conjunction with the fast limit settings also introduced with this unit, it allows the C2 to be used for a much wider range of applications than the C1.Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.
Der C2 Kompressor beinhaltet zwei unabhängige Mono-Kompressoren. Im STEREO-Modus werden beide Audiokanäle von den Bedienelementen auf der linken Seite gesteuert, während die Elemente der rechten Seite keine Funktion haben. Das Gerät arbeitet dann im echten Stereobetrieb mit identischen Einstellungen in beiden Kanälen. Die Version C2M besitzt dagegen nur einen Satz Bedienelemente, der zwei Audiokanäle für den Stereobetrieb steuert. Bedienung: Schnelle Attack- und Limiter-Einstellungen für den Einsatz als SchutzbegrenzerCrush-Modus für FET-Überkompressionen mit speziell angepasstem Frequenzgang und höheren Verzerrungen für 'überdimensionale' DynamikeffekteExterne Sidechain-Eingänge (für Ducking etc.)Automatischer Bypass bei Stromausfall für Broadcast- oder Live-AnwendungenRatios: 1.5:1, 2:1, 3:1, 4:1, 10:1 und LimitAttack: 0, 0.1, 0.3, 1, 3, 10 und 30 msRelease: 0.1, 0.3, 0.6, 1.2 und 2,4 Sekunden Optionen: Eingang für externe Fadersteuerung (auf Wunsch, für Stereo-Mastering etc.). Zweikanalige Slave-Einheiten für Mehrkanal-Einsatz (Film, Surround-Formate etc.). Schaltungsaufbau: Spannungsgesteuerter Verstärker (VCAs) neuer GenerationVerstärkerschaltungen mit hoher Slew Rate und hybriden FET/Transistor-EingängenPush/Pull-Transistorausgänge mit hoher AusgangsleistungVollständig symmetrisches Schaltungskonzept im gesamten Audio-SignalwegKeine Elektrolyt-Kondensatoren im AudiowegAlle Eingänge und Ausgänge symmetrisch ausgeführt Grundrauschen: besser als 104 dBm (20 Hz bis 20 kHz) Verzerrungen: besser als 0.005% (1K/+4 THD 20 Hz bis 20 kHz) Übertragungsbereich: linear innerhalb 0,5 dB zwischen 20 Hz und 100 kHz. Gehäusetiefe im Rack: 258 Millimeter Signaleingang: symmetrisch, Impedanz 1K8 pro Ader SidechainEingang: symmetrisch, Impedanz 10K pro Ader Ausgang: Diskrete Transistorschaltung, Ausgangspegel mehr als +26 dBm an 600 Ohm Last Threshold: einstellbar 20 bis +20 dBm Makeup Gain: einstellbar 0 bis +20 dBm Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.
The SmartGuitar DI system was conceived at Real World Studios to solve the problem of a guitarist wanting to play in the control room through amplifiers set up in a live room, usually many tens of metres away, or to feed amps without grounding or hum problems. Prototypes were also used at Virgin/EMI's Townhouse studios and Manor studios. Four systems were used to cure problems for Peter Gabriel's live show, where two stages had to be interconnected with 100 metres of cable carrying guitar signals from radios to effects pedals on both stages and back to guitar amps on the main stage without degradation, allowing each stage to be patched independently. The system comprises two boxes - a TRANSMIT unit and a RECEIVE unit. The TRANSMIT unit features a high impedance input normalled to two transformer DI / splitters, and is specifically designed for use with guitars and other musical instruments. The output line driver is capable of driving long cables such as existing studio mic or tie lines to the RECEIVE box. The TRANSMIT unit may be powered via an internal 9V battery, or from the supplied external plug-pack rated at 9 - 24Volts DC. The RECEIVE unit input feeds two more DI / splitters providing four more outputs, and can also be used independently as passive DIs. The DI / splitters each have an EARTH LIFT switch to alleviate hum problems. The RECEIVE unit also has a SPEAKER SIMULATOR input, which accepts a speaker-level amplifier output for 'dirty' DI sounds with or without a speaker connected. The RECEIVE unit requires no battery or power supply to operate. All the DI / splitters on both boxes have break jack inputs and can be used separately. In total, the SmartGuitar DI Deluxe provides four DI /Splitters, a line driver and receiver, and a speaker simulator. Balanced line driver for long cables; speaker level D.i input, 4 unity gain Di Box/Splitter for up to 8 D.i's or Amp feeds.Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.
The SmartGuitar DI system was conceived at Real World Studios to solve the problem of a guitarist wanting to play in the control room through amplifiers set up in a live room, usually many tens of metres away, or to feed amps without grounding or hum problems. Prototypes were also used at Virgin/EMI's Townhouse studios and Manor studios. Four systems were used to cure problems for Peter Gabriel's live show, where two stages had to be interconnected with 100 metres of cable carrying guitar signals from radios to effects pedals on both stages and back to guitar amps on the main stage without degradation, allowing each stage to be patched independently. The system comprises two boxes - a TRANSMIT unit and a RECEIVE unit. The TRANSMIT unit features a high impedance input normalled to two transformer DI / splitters, and is specifically designed for use with guitars and other musical instruments. The output line driver is capable of driving long cables such as existing studio mic or tie lines to the RECEIVE box. The TRANSMIT unit may be powered via an internal 9V battery, or from the supplied external plug-pack rated at 9 - 24Volts DC. The RECEIVE unit input feeds two more DI / splitters providing four more outputs, and can also be used independently as passive DIs. The DI / splitters each have an EARTH LIFT switch to alleviate hum problems. The RECEIVE unit also has a SPEAKER SIMULATOR input, which accepts a speaker-level amplifier output for 'dirty' DI sounds with or without a speaker connected. The RECEIVE unit requires no battery or power supply to operate. All the DI / splitters on both boxes have break jack inputs and can be used separately. In total, the SmartGuitar DI Deluxe provides four DI /Splitters, a line driver and receiver, and a speaker simulator.Für weitere Informationen, besuchen Sie bitte die Homepage zu diesem Produkt.
Used to send a recorded signal back through a amp, pre-amp, or effects pedals for further treatment. XLRF input to standard mono jack, incorporating a balanced to unbalanced 26dB pad. Can be used to feed the D.i System 'Instrument' input for distribution to several devices; or one isolated output to an amp or pedal if the system is being used at line level
High performance Mic and Line Amplifiers, Channel Switching and Buffers. Upgrade for SSL-E and -G series* Channel Modules. Easy to fit card.
The Input Card contains a significant part of the circuitry in each console channel module, and can therefore greatly influence overall module performance. Mic, line and insert return inputs and selector switching; channel fader selector switching; phase reverse circuitry and buffers feeding the record bus outputs all reside on this card. Operationally, our mic-amp offers 16; 4dB gain steps from +4dB to +64dB; and silent phantom power switching (the output mutes to avoid thumps). The card is easy to install by soldering a two wire link, and can be swapped back with no changes to the module. The measurements for the card appear on the following page, and to date (perhaps more importantly), all the opinions expressed to us by users have been favourable (most being surprised at a quite audible difference). The design philosophy has been to incorporate every factor that may yield beneficial performance; (detailed below) and score as highly as possible in each; the most crucial being the sound of the final circuitry. The design has been the result of some five years of research, a process that included surveying every op-amp and switch I.C currently available, with the final devices chosen through auditioning those short listed.
Subjective but potentially audible factors include the use of DC-servo amplifiers in all circuits to avoid electrolytic capacitors. Transformerless input. Removal of all wiring in gain critical areas of circuit. Mic amp gain is remote controlled, also allowing control from existing mic gain controls. Use of fet/transistor hybrid 'Butler' input op-amps. These are latest generation devices, and tend toward even harmonic distortion components. Total symmetry to minimise phase error in all balanced circuits. Use of latest generation electronic switches to reduce switch-on impedance and hence minimise switch colouration.
Measurable factors include: Noise floor. Distortion. Slew rate/frequency response. Headroom. Common Mode Rejection Ratio. Switch 'off' isolation.
We believe that the most significant factors affecting the audible performance in this case are slew rate, and switch 'off' isolation. The older NE5534 op-amp used in the existing channel has a quoted slew rate of 6v/µs with 22pf compensation; which can be further degraded by capacitors added to the feedback path to improve stability. The op-amp we use is unity gain stable, needing no compensation capacitors, and has a slew rate of 22v/µs; an almost four-fold improvement. With regard to the existing electronic switches, if signal transients approach within 5 volts of clipping they can break through the J-fets used. These devices also exhibit significant on-impedance. Both of these factors do not apply to the analogue switches used in our design. Examine the following figures yourself, and if you would be interested to hear the difference, please call us.
The following figures compare the Smart Research 01/7 Channel input amplifier to the original input card measured at Metropolis Audio (Australia). Note that these figures are not necessarily guaranteed for other situations. All figures are measured 22Hz-22KHz RMS at the channel insert send; for 3 gain or frequency settings as indicated in the graphs as 1,2 and 3.
569,00 €*
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